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The 70th ANNIVERSARY of A. Y. FLIER

O. N. Volkostrelov, A. Ya. Flier. Culture is a program of group adaptive behavior of people. Interview

I. M. Bykhovskaya, O. I. Goryainova. Socialization and inculturation of the individual: a comparative analysis of socially significant practices

G. V. Drach. On cultural variability and social dynamics (referring to the works of A. Ya. Flier)

A.V. Kostina. A. Ya. Flier's concept of culture and its role in the development of Russian cultural studies

 

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IN SEARCH OF THE MEANING OF HISTORY AND CULTURE (A. Ya. Flier’s Section)

V. M. Rozin. From the culture of modernity to the "post-culture"

N. A. Khrenov. Between america and china: the concept of the "other" in the formation and transformation of russia's civilizational identity (beginning)

 

Analytics:

HIGH ART IN a CULTURE of MODERNITY (E. N. Shapinskaya’s Sectoin)

E. N. Shapinskaya. "Ah, it's not hard to deceive me..." Love games in cyberspace

CULTURAL REFLECTIONS

N. A. Khrenov. Culture and historical memory (beginning)

A. Ya. Flier. Power and culture: self-organization of society according to the model of vertical hierarchy


Announcement of the next issue

 

 

Khrenov Nikolai Andreevich,
Doctor of Philosophy, Professor,
the Gerasimov Russian State
University of Cinematography
e-mail: nihrenov@mail.ru

Synthesis of arts as a synthesis of cultures: V. Kandinsky And S. Eisenstein
(beginning)

Abstract. The article is devoted to the study of the phenomenon of artistic avant-garde in the national culture of the first half of the twentieth century, the origin and basic creative and cultural principles of avant-garde. Directly these problems are analyzed on the example of creativity of V. Kandinsky and R. Eisenstein taking into account features of a cultural context of their activity.

Keywords. Art, avant-garde, new meanings, new forms, tradition, innovation.
 

[1] Hansen-Leve O. Russian formalism. Methodological reconstruction of development based on the principle of exclusion. M.: Languages of Russian culture, 2001. P. 17.
[2] Panofsky E. Idea. On the history of concepts in art theories. From antiquity to classicism. SPb.: Ed. "Andrey Heirs", 2002.
[3] Jung K. the structure of the psyche and the process of individuation. M.: Science, 1966. P. 30.
[4] Ibid. P. 31.
[5] Ibid. P. 32.
[6] Yampolsky M. Observer. Essays on the history of vision. M.: Ad Marginem, 2000.
[7] Yampolsky M. The World Of The Visible. Essays on early Kinopanorama. M.: film Studies notes, 1993.
[8] Yampolsky M. Observer. P. 8.
[9] Berdyaev N. Philosophy of creativity, culture and art. VOLUME. 2., M.: Art, 1994. P. 404.
[10] Yampolsky M. Observer. P. 48.
[11] Jacobson R. Movie Over? / The structure of the film. M.: Rainbow, 1984. P. 25.
[12] Eisenstein S. Method. Thom. 2. M.: Eisenstein-centre; Museum of cinema, 2002. P.55.
[13] Ibid. P. 49.
[14] Ortega-and-Gasset H. the Aesthetics. Philosophy of culture. M.: Art, 1991. P. 220.
[15] Kandinsky V. Selected works on the theory of art. Thom. 1. M.: Gilea, 2001.
[16] Eisenstein S. Selected works. At 6 Vol. Thom. 2. M.: Art, 1964. P. 128.
[17] Eisenstein S. Memoirs. Thom. 2. M.: Work; Museum of cinema, 1997. P. 303.
[18] In Prokofiev. Art criticism, history of art, theory of the General artistic process: their specificity and problems of interaction within the limits of art // Soviet art history. Issue 2. M.: Soviet artist, 1978.
[19] Khrenov N. Art history as a history of culture / / Culture and art. 2011.  No. 1. P. 92.
[20] Grabar I. Letters. 1891-1917. M.: Science, 1974. P. 195.
[21] Ibid. P. 192.
[22] Berdyaev N. Philosophy of freedom. The meaning of creativity. M.: Izd. "The truth", 1989. P. 523.
[23] Eisenstein S. Method. Thom. 1. P. 47.
[24] Fuck N. Utopian complex of Russian art of the first half of the twentieth century: from the avant-garde to the Byzantine tradition / / upper Volga philological Bulletin. 2015.  No. 1. P. 171.
[25] P. Eisenstein's Decree. OP. P. 77.
[26] Popper K. open society and its enemies. Vol. 1. The Spell Of Plato. M.: Phoenix, 1992. P. 208.
[27] Ibid. P. 209.
[28] Hanzen-Leve O. Decree. op. P. 111.
[29] F. Stepun the Mystical world-view. Five images of Russian symbolism. SPb.: Ed. "Vladimir Dal", 2012.
[30] Eisenstein S. Method. Vol. 2. P. 61.
[31] Vasari D. Biographies of the most famous painters, sculptors and architects. Vol. 1. M.: Art, 1956. P. 154.
[32] Makovsky S. On the Parnassus of the Silver age. M.: Twenty-first century-Harmony, 2000. P. 483.
[33] In Kandinsky. Decree. op. Vol. 2. P. 25.
[34] In Turchyn. Century XIX century XX-th // Twentieth century and the ways of European culture. M: GII, 2000. P. 35.
[35] Eisenstein S. Method. Vol. 1. P. 112.
[36] Kandinsky V. Decree. op. Vol.1. P.105.
[37] Kandinsky V. Decree. op. Vol. 1. P. 106.
[38] Mandelstam O. Word and culture. M.: Soviet pisatel’, 1987. P. 42.
[39] Kandinsky V. Decree. op. 2. P. 246.
[40] Kandinsky V. Decree. op. Vol. 1. P. 292.
[41] Kandinsky V. Decree. op. Vol. 1. P. 320.
[42] Voloshin M. Archaism in Russian painting (Roerich, Bogaevsky and Bakst) // Apollo. 1909.  No. 1. P. 50.
[43] Schmidt I. The main problems of theory and history. L.: Academia, 1925.
[44] Kandinsky V. Decree. op. Vol. 1. P. 239.
[45] Kandinsky V. Decree. op. Vol. 2. P. 51.
[46] Kandinsky V. Decree. op. Vol. 2. P. 54.
[47] Kandinsky V. Decree. op. Vol. 2. P. 267.
[48] Kandinsky V. Decree. op. Vol. 2. P. 262.
[49] Hanzen-Leve O. Decree. op. P. 184.
[50] Eisenstein S. Method. Vol. 1. P. 436.
[51] Ibid.
[52] Ibid. Vol. 2. P. 327.
[53] Kandinsky V. Decree. op. Vol. 2. P. 71.
[54] Decree P. Decree. op. Vol. 1. P. 46.

 

 

ISSN 2311-3723

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